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Revue Philosophique de Louvain, 1970
Van Breda Herman Leo. In memoriam Roman Ingarden. In: Revue Philosophique de Louvain. Troisième série, tome 68, n°99, 1970. pp. 423-426.
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Van Breda Herman Leo. In memoriam Roman Ingarden. In: Revue Philosophique de Louvain. Troisième série, tome 68, n°99, 1970. pp. 423-426.
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Philosophy Compass, 2012
Abstract While Roman Ingarden remains best known among English‐speaking philosophers and literary theorists for his work in aesthetics, and primarily for his study of the literary work of art, his studies in aesthetics and art belong in fact to the comprehensive program of phenomenological research in ontology and metaphysics that ...
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Abstract While Roman Ingarden remains best known among English‐speaking philosophers and literary theorists for his work in aesthetics, and primarily for his study of the literary work of art, his studies in aesthetics and art belong in fact to the comprehensive program of phenomenological research in ontology and metaphysics that ...
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The Philosophy of Roman Ingarden
2002One of the most outstanding Polish philosophers, Roman Ingarden, was a bilingual writer. His fundamental works are available in Polish and German versions. In the 1950s, when Ingarden lapsed into silence on account of political ideology (he was not allowed to depart from Poland or give lectures at the university), his thought was presented on the ...
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Roman Ingarden’s Philosophy of Culture
1998Even a very ambitious attempt at investigating Roman Ingarden’s academic work1 does not include his work in the field of philosophy of culture. Simultaneously, his ontology and aesthetics inspire a large body of philosophical and detailed studies of culture.
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2009
The foundations of Ingarden’s aesthetics were formed in the context of his polemic with edmund husserl’s transcendental idealism (Ingarden 1929). The critical function and productive employment of the phenomenological method determines the autonomy and theoretical relevance of his aesthetics.
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The foundations of Ingarden’s aesthetics were formed in the context of his polemic with edmund husserl’s transcendental idealism (Ingarden 1929). The critical function and productive employment of the phenomenological method determines the autonomy and theoretical relevance of his aesthetics.
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